Bibliography for DT2401: The Idea of Live Art BETA

‘About Us | Forced Entertainment’. n.d. https://www.forcedentertainment.com/about/.

Abramovic, Marina, and Klaus Peter Biesenbach. 2010. Marina Abramovic: The Artist Is Present. New York: Museum of Modern Art.

Auslander, Philip. 2006a. ‘The Performativity of Performance Documentation’. PAJ: A Journal of Performance and Art 28 (3): 1–10. https://doi.org/10.1162/pajj.2006.28.3.1.

———. 2006b. ‘The Performativity of Performance Documentation’. PAJ: A Journal of Performance and Art 28 (3): 1–10. https://doi.org/10.1162/pajj.2006.28.3.1.

———. 2008a. Liveness: Performance in a Mediatized Culture. 2nd Edition. London: Routledge.

———. 2008b. Liveness: Performance in a Mediatized Culture. London: Routledge.

———. 2008c. Liveness: Performance in a Mediatized Culture. 2nd Edition. London: Routledge.

———. 2008d. Liveness: Performance in a Mediatized Culture. London: Routledge.

Banes, Sally, and Andre Lepecki. 2007. The Senses in Performance. New York: Routledge.

Bishop, Claire. 2006. Participation. London: Whitechapel.

Bleeker, Maaike. 2008a. Visuality in the Theatre: The Locus of Looking. Houndmills, Basingstoke: Palgrave Macmillan.

———. 2008b. Visuality in the Theatre: The Locus of Looking. Basingstoke, Hampshire: Palgrave Macmillan. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230583368.

Bleeker, Maaike, Adrian Kear, Joe Kelleher, and Heike Roms, eds. 2019a. Thinking through Theatre and Performance. London: Bloomsbury Methuen Drama. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u.

———, eds. 2019b. Thinking through Theatre and Performance. London: Bloomsbury Methuen Drama. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u.

Burden, Chris. n.d. ‘Shoot | Media Art Net’. http://www.medienkunstnetz.de/works/shoot/.

Carlson, Marvin. 2004a. Performance: A Critical Introduction. 2nd ed. New York: Routledge.

———. 2004b. Performance: A Critical Introduction. New York: Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153.

———. 2004c. Performance: A Critical Introduction. 2nd ed. New York: Routledge.

———. 2004d. Performance: A Critical Introduction. New York: Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153.

‘Catalogue - Live Art Development Agency’. n.d. https://www.thisisliveart.co.uk/resources/search/.

Chrysochou, Panayiota. 2017. Performing Identity and Gender in Literature, Theatre and the Visual Arts. Newcastle upon Tyne: Cambridge Scholars Publishing. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4820227.

Concannon, Kevin. 2008. ‘Yoko Ono’s Cut Piece : From Text to Performance and Back Again’. Journal Of Performance And Art 30 (3): 81–93. https://librarysearch.royalholloway.ac.uk/permalink/f/vavv8/TN_jstor_archive_330135150.

DeFrantz, Thomas, and Anita Gonzalez, eds. 2014a. Black Performance Theory. Durham: Duke University Press.

———. 2014b. Black Performance Theory. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1666607.

Etchells, Tim. 1999a. ‘Introduction: Performing Questions, Producing Witnesses’. In Certain Fragments: Contemporary Performance and Forced Entertainment, 9–23. London: Routledge.

———. 1999b. ‘Introduction: Performing Questions, Producing Witnesses’. In Certain Fragments: Contemporary Performance and Forced Entertainment, 1st ed, 9–23. London: Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=166451.

Finbow, Acatia. 2018. ‘Multiplicity in the Documentation of Performance-Based Artworks: Displaying Multi-Media Documentation in Rebecca Horn’s Body Sculptures at Tate’. Journal of New Music Research 47 (4): 291–99. https://doi.org/10.1080/09298215.2018.1486432.

Friedman, Andrew. 2015. ‘Kindertotenlieder Created by Gisèle Vienne’. Theatre Journal 67 (2): 319–20. https://doi.org/10.1353/tj.2015.0058.

Giannachi, Gabriella, and Jonah Westerman, eds. 2018a. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. London: Routledge.

———, eds. 2018b. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. London: Routledge, Taylor & Francis Group. https://www.taylorfrancis.com/books/9781315645384.

‘Gisèle Vienne: Disturbance in Representation - Dansens Hus’. n.d. https://www.dansenshus.com/en/articles/om-forestillingen-crowd.

Goldberg, RoseLee. 1998. Performance: Live Art Since the 60s. London: Thames & Hudson.

———. 2011a. Performance Art: From Futurism to the Present. 3rd Edition. London: Thames & Hudson.

———. 2011b. Performance Art: From Futurism to the Present. 3rd Edition. London: Thames & Hudson.

Grehan, Helena. 2009. Performance, Ethics and Spectatorship in a Global Age. Basingstoke: Palgrave Macmillan.

Guy, Georgina. 2012. ‘“NOTES on a Return” to a Not-Forgotten: Durations of the Missed and the Previously Unvisited’. Performance Research 17 (5): 135–39. https://doi.org/10.1080/13528165.2012.728455.

———. 2016a. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. New York: Routledge.

———. 2016b. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. New York: Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719.

Heathfield, Adrian. 2000. Small Acts: Performance, the Millennium and the Marking of Time. London: Black Dog.

Heathfield, Adrian, and Hugo Glendinning. 2004a. Live: Art and Performance. London: Tate.

———. 2004b. Live: Art and Performance. London: Tate.

———. 2004c. Live: Art and Performance. London: Tate.

Heathfield, Adrian, and Tehching Hsieh. 2009a. ‘Impress of Time’. In Out of Now: The Lifeworks of Tehching Hsieh, 10–61. London: Live Art Development Agency.

———. 2009b. Out of Now: The Lifeworks of Tehching Hsieh. London: Live Art Development Agency.

Heddon, Deirdre, and Jennie Klein, eds. 2012. Histories and Practices of Live Art. Basingstoke, Hampshire: Palgrave Macmillan.

Hoffmann, Jens, and Joan Jonas. 2005. Perform. New York: Thames & Hudson.

Jaimangal-Jones, Dewi, Annette Pritchard, and Nigel Morgan. 2015. ‘Exploring Dress, Identity and Performance in Contemporary Dance Music Culture’. Leisure Studies 34 (5): 603–20. https://doi.org/10.1080/02614367.2014.962580.

Johnson, Dominic. 2012a. ‘Introduction: The What, When and Where of Live Art’. Contemporary Theatre Review 22 (1): 4–16. https://doi.org/10.1080/10486801.2012.651360.

———. 2012b. ‘Introduction: The What, When and Where of Live Art’. Contemporary Theatre Review 22 (1): 4–16. https://doi.org/10.1080/10486801.2012.651360.

———. 2012c. Theatre & the Visual. Basingstoke: Palgrave Macmillan.

———, ed. 2014. Critical Live Art: Contemporary Histories of Performance in the UK. London: Routledge.

Jones, Amelia. 1997a. ‘“Presence” in Absentia: Experiencing Performance as Documentation’. Art Journal 56 (4). https://doi.org/10.2307/777715.

———. 1997b. ‘“Presence” in Absentia: Experiencing Performance as Documentation’. Art Journal 56 (4). https://doi.org/10.2307/777715.

———. 1998a. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press.

———. 1998b. ‘Introduction’. In Body Art/Performing the Subject, 1–19. Minneapolis: University of Minnesota Press.

———. 2011. ‘"The Artist Is Present”: Artistic Re-Enactments and the Impossibility of Presence’. TDR/The Drama Review 55 (1): 16–45. https://doi.org/10.1162/DRAM_a_00046.

Jones, Amelia, and Adrian Heathfield. 2012. Perform, Repeat, Record: Live Art in History. Bristol: Intellect.

Kaye, Nick. 2000a. Site-Specific Art: Performance, Place, and Documentation. New York: Routledge.

———. 2000b. Site-Specific Art: Performance, Place, and Documentation. London: Routledge.

Kelleher, Joe. 2015a. ‘Everybody Acts (On Friendship)’. In The Illuminated Theatre: Studies on the Suffering of Images, 126–45. London: Routledge.

———. 2015b. The Illuminated Theatre: Studies on the Suffering of Images. London: Routledge.

‘Leap into the Void’. n.d. https://www.metmuseum.org/toah/works-of-art/1992.5112/.

‘Live Art in the UK: Lois Keidan Interview with British Library (Parts 1 and 2)’. n.d. http://www.thisisliveart.co.uk/blog/live-art-in-the-uk-lois-keidan-interview-with-british-library/.

MacRitchie, Lynn. 1996. ‘Marina Abramovic: Exchanging Energies’. Performance Research 1 (2): 27–34. https://doi.org/10.1080/13528165.1996.10871487.

‘“One Year Performance1980-1981”, Tehching Hsieh, 1980-1 | Tate’. n.d. https://www.tate.org.uk/art/artworks/hsieh-one-year-performance1980-1981-t13875.

Phelan, James, and Peter J. Rabinowitz. 2005. A Companion to Narrative Theory. Oxford: Blackwell. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=243554.

———. 2008. A Companion to Narrative Theory. Malden, Mass: Blackwell.

Phelan, Peggy. 1992. Unmarked: The Politics of Performance. London: Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272.

———. 1993. Unmarked: The Politics of Performance. London: Routledge.

———. 2004. ‘Marina Abramovic: Witnessing Shadows’. Theatre Journal 56 (4): 569–77. https://doi.org/10.1353/tj.2004.0178.

———. 2012. Live Art in LA: Performance in Southern California, 1970-1983. 1st Edition. New York: Routledge.

Rancière, Jacques. 2004. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum.

Read, Alan. 2014. Theatre in the Expanded Field. Bloomsbury Publishing. http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137.

Read, Alan, and Beryl Robinson. 2013. Theatre in the Expanded Field: Seven Approaches to Performance. London: Bloomsbury.

Sayre, Henry M. 1992. The Object of Performance: The American Avant-Garde Since 1970. New ed. Chicago, IL: The University of Chicago Press.

Schmidt, Theron, ed. 2019a. ‘Bodies: Introduction’. In AGENCY: A Partial History of Live Art. Bristol: Intellect.

———, ed. 2019b. ‘Bodies: Introduction’. In Agency: A Partial History of Live Art. Bristol: Intellect. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5748642.

Schneemann, Carolee, and Bruce R. McPherson. 1997. More Than Meat Joy: Performance Works and Selected Writings. 2nd ed. Kingston, NY: McPherson & Co.

Schneider, Rebecca. 1997a. The Explicit Body in Performance. 1st ed. London: Taylor and Francis. http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366.

———. 1997b. The Explicit Body in Performance. London: Routledge.

———. 1997c. The Explicit Body in Performance. 1st ed. London: Taylor and Francis. http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366.

———. 1997d. The Explicit Body in Performance. London: Routledge.

———. 2011a. Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge.

———. 2011b. Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786.

Shalson, Lara. 2012. ‘On Duration and Multiplicity’. Performance Research 17 (5): 98–106. https://doi.org/10.1080/13528165.2012.728448.

———. 2018. ‘Chapter 3 Enduring Life’. In Performing Endurance: Art and Politics since 1960, 109–45. Cambridge: Cambridge University Press.

Solga, Kim. 2016a. Theatre & Feminism. London: Palgrave, an imprint of Macmillan Publishers.

———. 2016b. Theatre & Feminism. Basingstoke, England: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763280.

‘Song Dong: A Pot of Boiling Water’. n.d. http://www.tate.org.uk/art/artworks/dong-a-pot-of-boiling-water-p80531.

Spackman, Helen. 2000. ‘Minding the Matter of Representation: Staging the Body (Politic)’. Contemporary Theatre Review 10 (3): 5–22. https://doi.org/10.1080/10486800008568593.

‘Study Room Guides - Live Art Development Agency’. n.d. http://www.thisisliveart.co.uk/resources/study-room/study-room-guides.

Wakefield, Nik. 2014. ‘Time-Specificity of Performance’. Choreographic Practices 5 (2): 183–97.

Ward, Frazer. 2006. ‘Alien Duration: Tehching Hsieh, 1978-99’. Art Journal 65 (3): 6–19. https://doi.org/10.1080/00043249.2006.10791212.

Wiles, David. 2014a. Theatre & Time. Basingstoke: Palgrave Macmillan.

———. 2014b. Theatre & Time. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763677.